For German readers: some thoughts and notes and quotes on the music I'm listening - to be found on my new blog:
ubus-notizen.blogspot.com
Also check out the great new, independent magazine get happy!?, reporting on music, movies and more:
gethappymag.de

Wednesday, January 28, 2009

This is a double feature of Freddie Hubbard's - two more shows to come after that, and then I'm done with my little homage to Freddie. As I'm typing, "Hub-Tones" is on, and it strikes me how lyrical Hubbard often played on his early albums (I've played "Open Sesame", "Goin' Up" and the great "Hub-Cap" before this morning).

Anyway, the first show here is a bit longer than one disc, and the second hasn't got great sound (it's very hissy), so I figured those interested in both might as well just put the 1986 onto the second disc of the 1985 show... in these times of crisis, a saved CDR is... well, as saved CDR!

The first of the shows from 1985's JazzFest Berlin features Hubbard along with Kenny Garrett (to play with Miles Davis soon after), and a rhythm section of Donald Brown, Ira Coleman and Carl Allen. The highlights are provided two fellow trumpet players sitting in: Woody Shaw and Dizzy Gillespie! Quite some trumpet fireworks!

The second show, from Nuremberg's Ost-West Jazz Festival, features Hubbard along Joe Henderson and the McCoy Tyner trio (with Avery Sharpe and Louis Hayes). As I said, that recording is hissy and inconsistent, but you'll have to check it out yourself.

Monday, January 26, 2009

I saw "King: A Filmed Record... Montgomery to Memphis", the 1970 documentary by Ely Landau, Sidney Lumet and Joseoph L. Mankiewicz (I don't quite see who directed and/or produced, but on the web Lumet and Mankiewicz are mentioned mainly, while in the film, only Landau's name was there big, while the other two were just shown in a long row of participants in the final credits). Anyway, the film left me pretty disturbed. Made me think of that Mingus tune "Free Cell Block F, 'tis Nazi USA"...

Here's a little write up I posted elsewhere on the web already:

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Three hours of mostly documentary footage (sometimes full speeches, such as the one in Washington). It shows some of the important events in MLK’s biography from 1955-1968 (of course those were important events for US history as well...)

Of course the police violence and racism and all, I expected that, but what I found really distressing were the parts filmed in Chicago (1966 I think), where there’s a very aggressive white mob, many of them carrying nazi-insignias with them – there’s one part then in a park (where I assume King wanted to do a speech or something) where there’s a whole counter-demonstration by whites all having these svastikas and stuff with them – really, really disgusting! I mean this was a mere twenty years after the Americans liberated large parts of Europe from that plague (well, many of the then „liberated“ ones were of course part of the plague, I have no illusions about that).

In between, there are some statements (some sounded like poetry readings – not in a bad way) by famous people, actors, like Paul Newman, Charlton Heston (ha, long way to his appearance in Michael Moore’s dumbed down film about guns!), Burt Lancaster etc. Also in the 1963 footage from Birmingham, you see Al Hibbler getting arrested (they don’t just throw him into one of their trucks with all the others as he’s blind). And on top of all, of course there’s plenty of cool music (Roach, Donald Byrd from his voices albums on Blue Note, the one with the cool cover, you know..., and you see Harry Belafonte, Peter Paul & Mary and others in short snippets from performances at demonstrations, as well as the stunning Mahalia Jackson – beats the sh*t out of Aretha, though if Obama had her as a guest in 68 or 69, she’d have been the queen, too, of course!)

Anyway, if you get a chance to see it, do it!

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The music used in the film was great (of course!) - Max Roach and Abbey Lincoln (of course!), Mahalia Jackson (singing live on screen), Donald Byrd, and more, and of course also Nina Simone... which made me remember that in between the recent Hubbard shows, I also upped a solo show of hers. Here 'tis!

Sunday, January 18, 2009

Here's a show recently broadcasted on Italian radio and shared on dime. For those not on dime, and by request of Owen, here it is again!Owen kindly allowed me to use a post of his about another concert by the same band, which I will quote below in a slightly adapted fashion - thanks a lot, Owen!

Some history…

So, you think this is a performance by the band Viva la Black? Close, but no cigar.

Louis Moholo-Moholo has been flying the Viva la Black banner since at least the mid 80s when Moholo first formed a group with Sean Bergin, Thebe Lipere, Claude Deppa, Robert Bellatalla & Steve Williamson, releasing the debut eponymous Viva la Black album in 1988 (Ogun OG533 LP, now out of print and sadly never reissued on CD). The core group of Moholo/Bergin/Lipere/Deppa continued on in this form until the mid 1990s with the likes of Frank Douglas, Paul Rogers, Toby Delius, Jason Yarde and Pule Pheto also passing through the ranks at various times. One other studio album Exile (Ogun OGCD 003) was released in 1991 before the group saw Louis make his triumphant return tour to South Africa in 1993; almost 30 years after his self-imposed exile began. This tour was later documented on the superb Freedom Tour album (Ogun OGCD 006) a collage of cleverly crossfaded best takes from a variety of performances mixed together to give the impression of one continuous joyous riot of sound. Another studio album was laid down in 1995 with Francine Luce also joining the group, however for reasons never made clear this album was shelved, only finally seeing release as Bra Louis, Bra Tebs in 2006 (Ogun OGCD 017/018, packaged as a two CD set with the long overdue reissue of Moholo’s exceptional pre-VlB 1978 album Spirits Rejoice!). Additionally, for this release the VlB name was retired in favour of the simpler Louis Moholo-Moholo Septet.

Due to the up-front presence of Lipere’s percussion and vocals Viva la Black was always a very African sounding jazz group, fusing Xhosa music forms with exuberant jazz orchestrations and a healthy dose of unbridled spontaneity. A further Africanised Brotherhood of Breath if you will.

Material-wise, a great deal of the original VlB songbook was made up of original Moholo material, traditional folk forms arranged by Moholo and songs written by his compatriots in exile. The band would also occasionally mix in standards such as What a Wonderful World and Roland Kirk’s Volunteered Slavery with their usual set, though the VlB signature would always ensure these standards never sounded tired, and often sounded totally original in themselves.

When Moholo relaunched the Viva la Black banner in 2004 it was as a very different beast. Gone were all of the musicians involved in the original era, as was the bulk of the material. Instead it would be a new collaborative venture with Keith Tippett and Julie Tippetts, drawing most of the material from Keith’s back catalogue, along with a handful of adapted arrangements carried over from each musician’s time with the Dedication Orchestra. The only remnants from the original VlB era are an adaptation of the South African National Anthem, and a few of the “compatriot” tunes that were common to both Dedication Orchestra and the original VlB group. Sadly, none of Moholo’s own original compositions, nor his arrangements of traditional tunes made the cut.

Keith Tippett’s chosen material for this project is a virtual greatest hits package, mixing material from across his broad career. As is usual with Tippett, themes are likely to pop up in unexpected places, and in the wrong order. I’ve long been under the impression that Keith considers his entire catalogue as studies for his next projects. Never is any piece of Tippett music totally finished and done with.

Instead of recruiting a new band to join the trio, a decision was made to hire an existing one to play under the VlB banner; enter Pino Minafra and his group Canto General (along with the Farualla Singers), and later (as on this recording) the smaller Minafric Orchestra. As Minafra was running the Ruvo festival in 2004 he missed out on playing with the band at that event, something he had the opportunity to rectify with encore performances this year at two festivals in France. Last year’s release of the Live at Ruvo CD (Ogun OGCD 020), the only official document of the group in action, is sadly lacking this key member’s musical contributions. It is fortunate then that this new recording exists (albeit only as a bootleg at this point) to give us the opportunity to hear Minafra take his place on the stage beside the group he was instrumental in forming.

In the Italian trumpeter’s ensembles Moholo and the Tippetts have found the perfect complement to the spirited music presented here. Both Minafra-led groups are capable of embracing the type of rambunctious expressionism essential to make this music work, and which is so often lacking in many recordings/performances.

So, it’s a different Viva la Black at Grenoble for sure, but by no means is it a lesser Viva la Black.

Now, on to the music…

1. MRA (6:50)A joyous, rambling locomotive momentum and sparkling trumpet solo immediately sets the mood as the group open with this monstrous tune by Dudu Pukwana. MRA was first recorded by Gwigwi's Band on the very rare album Kwela - later reissued as Gwigwi Mrwebi: Mbaqanga Songs (Honest John’s HJRcd103) - then later rerecorded for the debut album of Chris McGregor's Brotherhood of Breath (Fledg’ling FLED 3062) and it is through the Brotherhood’s live performances that it became Pukwana's signature piece. Both the original VlB band and the Dedication Orchestra had also recorded MRA. For my money the 21st century VlB versions are some of the best takes out there.

3. Thoughts to Geoff (9:54)A Keith Tippett Group classic first released on their second album, 1971’s Dedicated To You... But You Weren't Listening (Vertigo 6360024), although an earlier version was recorded for the Keith’s unreleased 1969 debut platter (Revolution label acetate only). The arrangement here takes its cue from the Mujician and the Georgian Ensemble’s Bristol Concert performance from 1991 (Whatdisc 7), following a more rigid bassline and occasional handclap enhanced groove far off into the sunset.

4a. "introduction to Dedicated to Mingus" (proper title unknown) (0:00 - ?)Another thing of Keith’s, first released in this form on the Ruvo CD (though not credited there as a separate track), this vocal harmony improvised layering technique was also used as part of Tapestry's First Weaving, and can also be heard in development stage on The Bristol Concert. The concept is simple, each singer chooses a note that harmonises with the notes around them and holds it for as long as possible. On drawing breath a new note is picked based on the audible polyphony at that point in time. The effect is a glorious ever morphing complex chord.

4b. Dedicated to Mingus (? - 4:47)Charles Mingus was a huge influence on Tippett, with both musicians taking jazz composition to an almost art/classical music level with extended complex works. Tippett first recorded this track with his short lived Septet for their sole album, 1986’s A Loose Kite In A Gentle Wind Floating With Only My Will For An Anchor (Ogun OGD007/008). Yes, it’s very Mingusy, almost to the point of caricature, but very enjoyable nonetheless. Another one also found on The Bristol Concert.

5. Mongezi Feza (4:38)This is a Tippett vocal study in a count of 10 based on building the great trumpeter's name starting with just whispering “Zi!” and then “Zi!, Za!” This track, and the following Four Whispers counterpart are unique to the 21st century Viva la Black venture as far as I know.

6. Four Whispers for Archie's Chair (4:24)Another Tippett tune first recorded for the Ruvo CD, this piece in 5/4 time uses the vocal bed laid down in 4c for the backing. And it’s very nicely done if you ask me.

7. Traumatic Experience (7:14)A Harry Miller tune first recorded for his Quintet’s In Conference album (Ogun HMCD 2). The arrangement here is basically the Dedication Orchestra’s, with the added choir section.

8. Cider Dance (3:34)More Tippettisms, first recorded for The Bristol Concert, though the version here is the later Ruvo arrangement which also at one point integrates the B theme section from the title track on A Loose Kite... (cuepoint 10:32). Many parts of Cider Dance can also be found in different arrangements within Tippett’s 90s major work Tapestry’s First Weaving as found on the 2007 CD Live at Le Mans (RedEye 008), where the vocalists also take on a unique Tippetts libretto.

9. A Song (3:53)This is Tippett’s epic 1978 work Ark: Frames – Music for an Imaginary Film (Ogun OGCD 010/011) in micro. It includes (in order) the third piece (from part/side four of the original 2LP) "Burning, Fire is Coming" and second piece (from part/side three) "Our Hearts are Heavy". The text is Julie’s. This arrangement was first recorded for the Ruvo CD, though the main sections are obviously from much earlier.

10. Dancing Damon (3:57)Another Harry Miller tune from the In Conference album. An uptempo retake on the Dedication Orchestra arrangement, emphasising the percussion section with a well fitting solo/duo break, and definitely one of my favourite versions of this song. Pure joy!

11. Septober Energy (11:15)The finale "Unite for Every Nation" section. Again Julie Tippetts provides the text. First recorded by Centipede in 1971 for the Septober Energy album of course (BGO 485), but this arrangement is closer to the Keith Tippett Group instrumental interpretation retitled Green and Orange Night Park, from the Dedicated to You… album.

13. You Ain't Gonna Know Me, 'cos You Think You Know Me (5:52)Mongezi Feza’s glorious anthem, first recorded by Louis Moholo (Octet) for the album Spirits Rejoice! Oft covered, yet a version of this song featuring the composer has never been released.

14. South African National Anthem (4:09)Written by Enoch Sentonga and adopted by the African National Congress in their struggle against apartheid… Jazz jam style. (includes band member introductions)

In short, if you like this, you will love the Ruvo CD. Basically, this is "Ruvo light", the same set, the same leaders, but a smaller, slightly less exuberant band. My advice is as it has always been, buy Ruvo ASAP.

Thanks a lot to Owen for this excellent and detailed review giving much insight and many hints where this musican journey could lead after this!

Here's a presentation with photos and music from the Grenoble concert > youtube

And for those who haven't seen it before, I posted an earlier Moholo show, in a small group also including Pino Minafra, Roberto Ottaviano, as well as longtime collaborator Roberto Bellatalla, and pianist (and son of Pino) Livio Minafra:

Here's the last of the sideman shows of Freddie Hubbard. I got this from dime recently though it had been shared quite a while ago. Tony Williams was one of the first jazz musicians I ever tried to write about in the high school paper... still a favourite! And Bobby "Booby" Hutcherson is cool, too. Herbie did some of the most astonishing and lyrical piano playing of all jazz in the 60s and went places later on (I love his Mwandishi band! The first two Headhunters albums are friggin' cool, too!). Ron Carter... well, he's Ron Carter, the man who kept the second Miles Davis quintet connected to earth somehow, even though his intonation might not be to everyone's taste. And then, there's Freddie on top of it!

Friday, January 16, 2009

Here's one more for the great drummers series of shares, a show that features the great Emmanuel Bex on organ, two of the finest Italian horn players, Flavio Boltro (myspace, wiki) and Pietro Tonolo (bio @ AAJ), as well as the magnificient Joe Chambers (myspace, wiki) on drums!

Chambers is a very talented, and very much under-appreciated character in jazz, both as a drummer and as a composer (check out another Bobby Hutcherson album, "Patterns", for example)

Here's the final 1983 Freddie Hubbard show, the last part of one of NPR's long New Year's Eve live broadcasts, from Howard Rumsey's "Concerts By the Sea". Again I got this from dime and offer my thanks to the seeder there!

This is a fine show, though to be honest, there was a bit too much banter for my likings. And I'm about fed-up with hearing drunken Americans singing "Auld Lang Syne" as well, after several of these NPR broadcasts... But in between, there's some really fine playing by Freddie and his sympathetic band (once again with Billy Childs). Herbie Lewis of course is much-respected in this house, he turns up to name just one, on Bobby Hutcherson's classic (and classy) Blue Note album, "Stick Up!".

Sax player Bob Shepherd is another unknown-to-me musician, if you know more about him, post a comment please!

Thursday, January 15, 2009

The penultimate show from 1983 (the final one will be a new year's eve show from Redondo Beach at Howard Rumsey's club), this features again Lew Tabackin, another great rhythm section with George Mraz and Roy Haynes, and pianist James Williams.This comes from an NPR broadcast (via dime, as most of these Hubbard shows), and there's the usual amount of talking.I did not smoothen out the track marks to burn this without the talking segments, you'll have to check yourself if you want to do so!

Wednesday, January 14, 2009

More stellar straight ahead jazz from Freddie's 80s revival period! And look what a band he is with here! The great Lew Tabackin on sax and flute, Joanne Brackeen on piano, and a true all-star rhythm section of Charlie Haden and Billy Cobham (what a weird combination - but it works!)

Hope you still enjoy these - there haven't been many comments of late... I'd still be very happy about any hints regarding the musicians and location of the previous 1983 upload!

Tuesday, January 13, 2009

Here's a show that's from an unknown location and with an unknown band but with a date. If you have more information, or some educated guesses, please comment!

It's a fine, straight show, could well be with Lew Tabackin (who will be featured on the next two Hubbard shows, both from 1983 as well). I have to possible guesses for pianist as well, but then I really don't know any of these three well enough to make this "educated guesses". Please help if you can! Also about the unknown track 3!

Monday, January 12, 2009

Taking a break from the Hubbard shows and returning for a moment to the topic of great drummers featured here as band leaders - check this post for more: Elvin Jones - Boston 1973.

There was a request for some more Daniel Humair, who was featured here before in a collective trio, Tryptich (with Jean-Paul Celea and François Couturier), and will be featured in another collective trio with Joachim Kühn and Miroslav Vitous.

Humair, born 1938 in Geneva, Switzerland, went to Paris early on and there quickly became part of the jazz scene, playing with many of the greats both from Europe, as well as visiting musicians. He played with Miles Davis and Sonny Rollins, with Don Byas, Lucky Thompson, Roland Kirk, Kenny Dorham, Bud Powell, Oscar Pettiford, Chet Baker, Eric Dolphy, Barney Wilen, Eddy Louiss, Jean-Luc Ponty, Stéphane Grappelli, Jim Hall, Lee Konitz, Art Farmer, Joe Henderson, Dexter Gordon, Johnny Griffin, Anthony Braxton, Henri Texier, Michel Portal, Dave Liebman, and many, many others.

Starting 1960, he recorded several albums with René Urtreger and Pierre Michelot, their trio was called HUM. He was a member of Martial Solal's great trio in the sixties, and in the late sixties he also was part of Phil Woods' European Rhythm Machine, and later on he was part of a great trio with Joachim Kühn (a frequent collaborator to these days) and the much missed Jean-François Jenny Clark.

In recent years, he's led various bands, among them Baby Boom (with saxophonists Matthieu Donarier and Christophe Monniot, Manu Codjia on guitar and bassist Sébastien Boisseau), Liberté Surveillée (with Ellery Eskelin on tenor, Marc Ducret on guitar and Bruno Chevillon, bass), and has performed with Bobo Stenson (in trio with Jean-Paul Celea) and Manu Codjia (in trio with François Moutin).

A series of fine releases on the now defunct Sketch label document some of these recent activities (Baby Boom, the band with Eskelin, HUM in a fine 3CD set, spanning 1960 to the late 90s, as well as another release with Marvin Stamm on trumpet, "Ear Mix").Recent discs include "Full Contact" (with the trio featured here), "Tryptich" (see my previous post!), and "Trio Live" with Celea and Jean-Philippe Murien, as well as "Baby Boom II" (with the same line-up as on the Sketch album), "Songlines" (with the trio Codjia/Moutin/Humair), "Air Libre" (with Muvien, Celea and Louis Sclavis). You can find all of these recent releases and some more on abeillemusique.com

Besides being an excellent jazz drummer, Humair has also pursued a career as painter, with over 150 exhibitions, starting in 1965.

In October of the past year, the fine French "Jazz Magazine" did a dossier on Humair, you can check out some of it via Humair's website.

Sunday, January 11, 2009

Here's the second show from this tour (check out the Wiesen concert here). As I mentioned there, the date and location of this aren't confirmed. The Montreux Sounds site does not have an entry for Hubbard in 1982, but this is the band that he toured with in that July. Other than the Wiesen concert, there's a recording from July 17 at North Sea Jazz (not in my possession - if you have it and want to contribute, please drop me a line!), and on July 24, they're confirmed as having appeared at the Capital Jazz Festival at Knebworth Park (UK) (see Jazz Journal International 6/82 p.12 for ad). Then, the quintet played at the Antibes Jazz Festival on July 19, 1982 (as reported in Jazz Forum 5/82 p.13). Date is almost certainly earlier than July 24 rather than later, because at the end of that month, most of the group went to Japan and played at least 4 days at the Budweiser Newport Jazz Festival in Madarao Heights on Honshu, and this festival ended July 30. This quartet was Hubbard, McCoy Tyner, Ron Carter, Tony Williams. Report on this appeared in Jazz Times 10/82 pp.10-11. [thanks to "jazzdi" from dime for these informations!]

Saturday, January 10, 2009

Here's the next one, by an astonishing band: Freddie of course, with Joe Henderson, Tony Williams, Kenny Barron and Ron Carter!

There'll be a second show from this July 1982 tour, said to be from Montreux, but alas, the Montreux Jazz Database does not have an entry for Freddie that year. This one is in better sound as it comes from radio, while the Montreux show is an audience recording. Both are very much worth being heard! We get Freddie digging deep into straight ahead jazz again, after years of doing funky music, and after what I'm afraid were some pretty drab and commercial albums. Luckily, that side hardly comes to the fore in the live shows I'm sharing here, though!

Thursday, January 08, 2009

This is the final Freddie show from the 70s. The opening number is by the quintet - again with Hadley Caliman (he can be heard on the Montreux 1978 post as well), and the rhythm section of Billy Childs, Larry Klein and Carl Burnett (who are on the Montreux show, as well as on the upcoming 1980 show from Boston).

Then for most of disc one, guest Leon Thomas takes over the spotlight, mostly just accompanied by the rhythm section. On some songs, Caliman and/or Hubbard join in.

On disc two, we get to hear the quintet again. I only noticed the discussion about #5 being another version of "Love Connection" after my files were up on RS. I haven't had the time to compare myself though, so let me know please!

CD1/73:061. Here's That Rainy Day (9:47)2. A Night In Tunisia (11:24)3. After The Rain (9:10)4. Straight No Chaser (5:39)5. Boom Boom Boom (5:47)6. Cousin Mary (7:41)7. Let The Rain Fall On Me (5:56)8. Song for my Father (6:10)9. One (5:55)10. If We All Could Love (5:32)

Here's the last of the early/mid seventies shows, another great one!This is again in the mood of the early CTI albums I'd say (as I stated before, I only have "Red Clay" and "Straight Life" so far).On the rhodes, there's once more George Calbes, and on tenor the great Junior Cook, while bassist and drummer Kent Brinkley and Ralph Penland are again unfamiliar to me - but this is a great band, and a fairly decent (but far from perfect) recording, for its age. It grooves mightily, that's for sure!

As a related bonus, I'll also have a 1975 Stanley Turrentine show (with a quartet, on drums in Bruno Carr, keyboarder and bassist are unknowns to me, John Miller and Tarura Nakamura - could well be a spelling error in the bassist name, please correct me in a comment if you know better so my upload will be more correct!)

Tuesday, January 06, 2009

Here's one of the funkiest Hubbard shows among the lot, played it in its entirety yesterday and found it very listenable, despite it being a 33 year old audience recording. Sound is constant, you can pretty much hear what's going on at any given point, and Freddie is smoking. The Cables/Franklin/Burnett section is very tight and groovy, the only slight letdown to my ears is the schmaltzy keys in the final cut on CD1 (including synth strings), other than that, this is smoking!

I don't know anything about Carl Randall Jr. - AMG has almost no info, just a listing of credits, which includes mid seventies recordings with Johnny "Hammond" Smith, one with Freddie Hubbard (1975's "Liquid Love"), and more recently with Gerald Wilson in the nineties and on Kenny Burrell's "75th Birthday Bash", a recent Blue Note release (where I guess Randall turns up as part of the Wilson orchestra again). Hubbard praises him in his announcements here and he acquits himself nicely in these surroundings, that's for sure!

Monday, January 05, 2009

Here's another early show, an all acoustic set with Junior Cook and Kenny Barron. On bass we find Juni Booth, whom I know mostly from McCoy Tyner's bands of the seventies, and on drums is the great Louis Hayes!Again though, this is mostly Freddie's show. He's covering it all, from hot energetic playing (Straight Life) to most lyrical sounds (Without a Song - could be a flugelhorn he's playing here, it seems... though towards the end, the harder, edgier sound comes to the fore again).

Next up will be a funky 1975 double set!

And please, let me know, I have more with Hadley Caliman and also some shows from 1980, 1982 and 1983 and then some - are you interested in those as well? The later ones go more towards straight ahead jazz again (with musicians like Joe Henderson, Lew Tabackin, JoAnne Brackeen etc, as well as a show where Dizzy Gillespie and Woody Shaw join in). Please post a comment to let me know!

Originally seeded, I believe, by upkerry at Dime. (Thanks!)His comments (now updated with full information and new track times, above) :Whoever recorded this didn't want any of the anouncer on it as he cuts him off so I have no idea re:personnel or tune titles.This is for Brimouse.

:: ubu edits ::fixed marksseparated announcementsthere was a cut off of the applause at the end of #4, added fade-outdeleted small gap during at original mark #8/9the beginning of Moanin' is slightly clippeddeleted some damaged applause and added fade-out at end of #12

Saturday, January 03, 2009

Here's the next one in my series of Hubbard shows, this one's the earliest I have. The CTI albums still lay ahead at this point, Hubbard is referring to his Atlantic album "The Black Angel" in his announcements.The Blakey connection is still quite present here, with Cedar Walton on piano and his tune "Ugetsu" (title of a Riverside album of Blakey's), as well as Clare Fischer's "Pensativa", which appeared on what's maybe my all-time favourite Blakey album, "Free for All" - Hubbard is blowing the shit out of his trumpet on that one!

I just fixed the marks last night (or rather in the wee hours today), this is the final version (in my eyes), and I'm only sharing it here, as the older version (on which this one is based) is still active over on dime.

Discs are most likely reversed. I've left that alone, as I have no confirmation of this, but it seems likely, and inconsequential for a listening experience, (listen to Disc 2 first if you prefer,) although, archivally speaking, it should be noted.

D1T3 - unknown time - various levels raised or lowered where necessary to smooth and even out a couple seconds of music by as much as +/-6db on seperate channels at similar times. Ending properly faded.

All other levels remain as they were originally found, leaving some of the mix uneven at times, but it seemed to me to be a more musical choice, or, the proximity to a mic could not be changed here, well after the fact. That's physics, folks!

No noise reduction was used by me. Live with the hiss.

Pitch was approximately 34 cents flat throughout.

goody - 11/26/05

:: ubu edits ::mark CD1#1/2: +1:10.9mark CD1#2/3: +0:07.7deleted silence at end of CD1#3separated CD2#1 from CD2#2added fade-in at beginning of CD2#1mark CD2#1/2: 0:44.9mark CD2#2/3: 0:14.8deleted silence at end of CD2#4

Friday, January 02, 2009

Next show of Hubbard's - this one is great, similar to his CTI albums (I have "Red Clay" and "Straight Life" only - both are great). I always like to hear Junior Cook, and George Cables is a great musician, too. But of course this is mainly Freddie's show!

1. Radio Intro > First Light > Ann FH (22:10)2. Here's That Rainy Day (23:59) [fade-out/fade-in during song due to tape flip]3. Announcement/Band Intros FH (1:09)4. Mr. Clean (13:59) [fade out due to end of tape]

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